What Morgenstern was for Munich, _Ludwig Gurlitt_ was for Düsseldorf--the most eminent of the great Northern colony which migrated thither in the thirties. His name is not to be found in manuals, and the pictures of his later period which represent him in public galleries seldom give a full idea of his importance. After a journey to Greece in 1859 he took to a brown tone, in which much is conventional. Moreover, his retired life--he resided from 1848 to 1852 in a Saxon village, and from 1859 to 1873 in Siebleben, near Gotha--contributed much to his being forgotten by the world. But the history of art which seeks operative forces must do him honour as the first healthy, realistic landscape painter of Germany, and--still more--as one who opened the eyes of a number of younger painters who have since come to fame. Gurlitt was a native of Holstein, and, like Morgenstern, received his first instruction in Hamburg, where at that time Bendixen, Vollmer, the Lehmanns, and the Genslers formed an original group of artists. After this, as in the case of Morgenstern also, there followed a longer sojourn in Norway and Copenhagen. In Düsseldorf, where he then went, a Jutland heath study made some sensation on his arrival. It was the first landscape seen in Düsseldorf which had not been composed, and Schadow is said to have come to Gurlitt's studio, accompanied by his pupils, to behold the marvel. In 1836 he migrated to Munich, where Morgenstern had worked before him, and here he produced a whole series of works, which reveals an artist exceedingly independent in sentiment, and one who even preserves his individuality in the presence of the Dutch. His pictures were grey in tone, and not yellowish, like those of the Dutch; moreover, they were less composed and less "intelligently" dressed out with accessories than the pictures of Dahl; they were glances into nature resulting from earnest, realistic striving. Even when he began to paint Italian pictures, as he did after 1843, he preserved a straightforward simplicity which was not understood by criticism in that age, though it makes the more sympathetic appeal at the present day. The strength of his realism lay, as was the case with all artists of those years, rather in drawing; but at times he reaches, even in painting, a remarkable clearness and delicacy, which at one time verges on the silver tone of Canaletto, at another on the fine grey of Constable. [Illustration: GURLITT. ON THE SABINE MOUNTAINS.]